ORIGIN  AND  DEVELOPMENT  OF  THE  CONCERT  PIECE 
FOR  THE  PIANOFORTE 


By 


MARGARET  JANE  BABCOCK 


THESIS 

FOR  THE 

DEGREE  OF  BACHELOR  OF  MUSIC 


IN 


MUSIC 


SCHOOL  OF  MUSIC 
UNIVERSITY  OF  ILLINOIS 


1921 


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■ 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/origindevelopmenOObabc 


Table  of  Contents 

Page 

1.  Definition  of  Concert-piece 

1 

2.  Classical  Music 

1 

3*  Bach 

2-4 

4.  Romanticism 

4 

5.  Beethoven 

4-6 

6.  Moscheles 

6 

7.  Czerny 

7 

8.  Weber 

7-8 

9.  Field 

CD 

1 

CD 

10.  Schubert 

9-11 

11.  Schumann 

11-14 

12.  Mendelssohn 

14vl5 

13.  Chopin 

15-20 

14.  Heller 

20-21 

15.  Henselt 

21 

16.  Raff 

21 

17.  Brahms 

22-24 

18.  Rational  School 

24 

19.  G-rieg 

24-25 

20.  Dvorak 

26 

21.  Liszt 

26-27 

22.  Rubinstein 

27 

23.  Tschaikowski 

ro 

CO 

24.  Saint-Saens 

28 

25.  Dubussy 

29 

26.  MacDowell 

29 

27.  iievin 

30 

Page 


28.  Coleridge-Taylor 

56 

29.  Strauss 

30 

30.  Godowsky 

31 

31.  Rachmaninov 

31 

32.  Paderewski 

31 

33.  Summary 


32 


Bibliography 


Dictionary  of  Music  and  Musicians  - Grove 
Encyclopedia  of  Music  - Moore 
Dictionary  of  Music  - Stainier  and  Barrett 
The  Pianoforte  and  its  Music  - Krehbiel 
A Guide  to  Music  - Mason 
Mezzotints  in  Modern  Music  - Euneker 

Modern  Music  and  Musicians  - Philharmonic  Society  of  Boston 
New  Practical  Reference  library  - Dixon  Hanson  Company 
Cyclopedia  of  Music  and  Musicians  - John  Champlin,  Jr. 

Famous  Composers  and  Their  Works  - Paine,  Thomas  and  Klauser 
History  of  Music  - Pratt 
Program  Music  - Niecks 

Stoke ’s  Encyclopedia  of  Music  and  Musicians  - DeBeekler 
Encyclopedia  Brittanica  - R.  S.  Peale  and  Company 
Webster’s  New  International  Dictionary  - G.and  C.  Merrism 
Company 

Studies  in  Modern  Music  - W.  H.  Hadlow 
The  Art  of  Music  - Hall 
The  Appreciation  of  Music  - Mason 
Biographical  Dictionary  of  Musicians  - Baker 


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1 


The  Origin  and  Development  of  the 
Concert  Piece  for  the  Pianoforte 

The  concert-piece  is  a solo  piece  intended  for  concert 
performance. 

"The  old  classical  music  was  written  by  men  of  the  high- 
est  rank  of  their  art,  men  corresponding  with  the  1 classici'  of 
ancient  Home.  It  is  music  written  in  obedience  to  accepted  laws, 
disclosing  the  highest  degree  of  perfection  on  its  technical  and 
formal  side,  but  preferring  aesthetic  beauty  to  the  emotional  con- 
tent, and  refusing  to  sacrifice  form  to  poetic,  dramatic,  or  char- 
acteristic expression."  Classical  music  was  written  according  to 
the  old  cyclic  form,  as  found  in  the  sonata.  The  sonata  consists  of 
three  or  four  movements  which  are  contrasted  in  tempo  and  character. 
The  model  or  design  which  distinguishes  the  sonata  form  from  other 
compositions  is  found  in  the  first  movement.  "In  the  first  section 
the  subject  matter  of  the  movement,  generally  consisting  of  two 
themes  which  are  contrasted  in  mood  but  related  in  key,  is  present- 
ed for  identification.  In  the  second  section  the  subject  is  develop- 
ed, worked  out,  illustrated,  and  exploited.  The  third  section  is  re- 
capitulatory; it  is  made  up  of  a repetition  of  the  first  part,  with 
modifications  and  a close,  generally  known  as  the  coda."  Haydn 
evolved  this  form.  The  sonata  or  suite  was  the  dominant  form  in  all 
kinds  of  instrumental  music  of  the  eighteenth  century. 


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BACH 


2 

Bach  (1685-1750)  was  one  of  the  first  masters  of  the 
concert  piece*  He  wrote  "The  Well  Tempored  Clavichord"  which  is 
composed  of  forty-eight  preludes  and  fugues.  Its  melodies  are  full 
of  the  charm  of  a spontaneous  song.  Formerly  the  prelude  was  a 
part  of  the  suite.  Bach  separated  it  from  the  suite  and  gave  it  a 
distinct,  independent  character.  In  this  way  he  improved  the  lines 
of  his  predecessors.  In  his  "Preludes  and  Fugues”  the  forms  differ. 
In  his  preludes  the  melody  is  not  easily  distinguished  hut  may  he 
found  in  his  harmonic  fugues.  This  is  the  case  in  the  preludes  of 
the  first  part.  Numbers  One,  Two,  Three,  Six,  Eleven,  Fifteen  and 
Twenty-one,  and  Numbers  Three  of  the  Second  part.  Often  the  pre- 
lude is  in  simple  song  form,  as  Numbers  Nine  and  Twelve  of  the 
first  part.  Often  is  is  written  in  imitative  style  as  in  Numbers 
Four,  Seven,  Fourteen,  Seventeen,  and  Eighteen  of  the  first  part. 
Numbers  Eight,  Twenty-two,  and  Twenty-four,  Part  One,  and  Pour, 
Twelve,  and  Twenty-two,  Part  Two,  which  are  written  in  the  style 
of  "Passion  Arias",  are  considered  the  most  beautiful.  However, 
in  both  volumes  of  Bach,  "The  Well  Tempered  Clavichord”,  and 
"Twenty-four  Preludes  and  Bugues",  the  prelude  is  part  of  the  fugue 
or  serves  as  an  introduction  to  the  fugue. 

Bach’s  "Inventions  in  Two  and  Three  Parts”,  and  "The 
Well  Tempered  Clavichord"  may  be  called  an  etude  cycle.  An  etude 
proper,  if  it  is  only  a musical  exercise  or  a characteristic  piece, 
is  distinguished  from  all  other  musical  forms  by  the  fact  that  it 
is  "invariably  evolved  from  a simple . phrase  or  motif,  it  it  is  of 
a harmonic  or  melodious  character,  upon  which  the  change  may  be 


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rung.”  "The  Well  Tempered  Clavichord”  and  "Two  and  Three  Part  In- 
ventions" may  he  called  etudes  without  being  misnamed.  These  are 
the  forerumaers  of  Chopin's  famous  etudes,  which  are  certainly  en- 
titled to  the  name  of  "concert-piece”.  The  minuets  In  Bach's 
"Suite"  are  a part  of  the  suite  and  are  noted  for  their  variety  in 
form  and  character. 

A Fantasia  may  be  properly  defined  as  a composition  in 
music  in  which  "the  author's  fancy  roves  unrestrained  by  a set  form." 
Another  definition  is  "Improvised  Prelude”.  Thus  it  may  be  seen  that 
the  Fantasia  is  a breaking  away  from  Classicism  and  formality.  In 
the  works  of  Bach  there  are  a great  number  of  Fantasias,  both  as 
separate  works  and  as  a first  movement  to  a suite  or  conjoined  with 
a fugue.  The  "Fantasia  Chromatic"  is  conjoined  with  a fugue,  "The 
Capritccio"  was  originally  a piece  in  fugal  style  but  not  in  strict 
figures,  as  in  Bach's  "Pix  Partitas".  He  uses  it  also  as  synon- 
ymous with  Fantasia,  as  in  his  "Capriocio  on  the  Departure  of  a Be- 
loved Brother". 

In  some  of  Bach's  works,  as  in  "The  Well  Tempered  Clavi- 
chord", the  prelude  is  a part  of  the  suite.  But  the  prelude  is 
treated  freely  enough  to  be  called  a Concert-piece.  In  some  of  the 
works,  as  in  "Little  Preludes  and  Fugues",  the  prelude  is  a distinct 
piece  and  has  an  independent  character  of  its  own.  This,  indeed  is 
a Concert-piece.  His  "Minuets”  and  "Fantasia"  certainly  hold  a claim 
to  the  title  "Concert-piece".  His  works  are  not  what  we  would  call 
concert-pieces  in  the  modern  sense,  but  simply  mark  the  beginning  of 
the  concert-piece.  Bach's  works  stand  at  the  beginning  of  the  con- 
cert-piece  in  music  just  as  Chaucer  stands  at  the  beginning  of  li- 
brary works.  Bach  was  the  father  of  the  concert-piece  just  as 


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, . • 


Chaucer  was  the  father  of  English  literature. 

BEETHOVEN 

Beethoven  was  an  intermediary.  He  was  the  last  of  the 
Classicists  and  the  first  of  the  Romanticists.  The  Romanticists 
were  the  students  or  adherents  of  the  individualistic  school.  The 
Romantic  writers  in  poetry  and  prose  were  those  whose  subject  matter 
was  drawn  from  imaginative  literature  of  the  middle  ages,  the  fan- 
tastical story  of  chivalry,  an  adventure  which  first  made  their 
appearance  in  the  Romance  language. 

"Romanticism  is  a quality  in  musical  composition  which 
strives  to  give  expression  to  other  ideals  than  mere  sensuous 
beauty,  and  seeks  them  irrespective  of  the  restrictions  and  limit- 
ations of  form  and  conventions  of  law;  the  quality  which  puts  con- 
tents or  matter  over  manner.”  The  striving  cannot  be  restricted 
to  the  composers  of  any  particular  time  or  place.  Beethoven  was  the 
forerunner  of  it  and  influenced  the  new  school.  Romanticism  in 
music  as  well  as  in  literature  is  a protest  against  classicism,  a 
protest  against  the  influence  of  the  Greek  and  Roman  ideals  on  the 
ideals  and  music  of  Western  Europe.  Romanticism  makes  expression  in- 
dividual, as  special, and  as  vivid  as  possible.  It  seeks  the  parti- 
cular rather  than  the  general,  using  the  lyric  style.  "It  tends  to 
neglect  the  wider  development  of  thought  in  which  classicism  es- 
pecially rejoices,  and  is  somewhat  indifferent  to  proportion,  bal- 
ance, and  comprehensive  arrangement.  It  takes  great  interest  in  the 
sensuous  charm  of  its  material  and  spares  no  effort  to  refine  and 
diversify  the  sensuous  effects  at  its  disposal". 


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Beethoven  was  the  first  composer  who  was  influenced  by 
the  new  school.  He  composed  a number  of  Fantasias.  The  "G-Minor 
Fantasia”  Opus  27,  is  distinctly  a Fantasia  and  differs  from  Bach's 
Fantasia  in  that  Bach's  was  a part  of  the  suite  while  Beethoven’s 
stands  alone.  Beethoven  wrote  "Thirty-three  Variations  on  a Waltz 
by  Diabelle",  Opus  120.  The  variation  style  is  old;  "it  suggests 
reflection,  technical  skill,  and  formalism;  yet  Beethoven  made  it 
a perfect  vehicle  for  soulful  poetizing". 

In  the  old  conception  of  this  form,  the  one  which  left 
the  theme  after  all  its  embellishments  and  was  essentially  what  it 
had  been  at  the  beginning,  may  be  said  to  reach  its  culmination 
under  Bach.  Beethoven  breathed  new  life  into  it  and  lifted  it  to  a 
height  which  no  composer  has  been  able  to  reach  since  except  Brahms. 

"His  purpose  in  the  variations  is  to  exhibit  the  ferasie  in  its  po- 
tential poetic  phrases,  to  give  an  exposition  to  the  various  moods 
which  its  penetrative  mind  and  exhuberant  fancy  saw  latent  within. 

It  is  as  if  one  having  a beautiful  diamond  should  successively  pre- 
sent each  of  its  facets  to  view  so  that  the  changes  in  refraction 

might  reveal  all  of  the  gem's  wealth  of  beauty  in  the  light  best 

)) 

calculated  to  make  that  beauty  evident. H 

The  origin  of  the  Waltz  is  wrapped  in  obscurity.  The 
modern  dance  made  its  appearance  about  1780.  The  music  of  the  waltz 
originally  consisted  of  two  sections,  each  having  eight  measures 
in  three-four  or  three-eight  time.  A good  example  of  the  primitive 
waltz  may  be  found  in  Beethoven's  "Deutsche  Tanze".  In  Beethoven's 
works  the  waltz  is  found  for  the  first  time  as  a separate,  independ- 
ent work. 


The  March  was  a form  originally  associated  with  military 


, 


6 


movements  and  afterwards  was  imported  into  the  music  of  the  stage, 
orchestra,  chamber,  and  oratorios.  Beethoven  was  the  first  compos- 
er  to  give  the  march  its  modern  form,  to  separate  it  from  the  stage 
and  to  let  it  stand  alone.  He  used  the  march  form  in  his  "The  Three 
Marches  for  Two  Performers",  Opus  45,  and  in  the  Funeral  March  of 
his  "Sonata*,  Opus  26. 

Beethoven’s  "Two  Preludes  thru  Twelve  Keys"  are  written 
in  the  improvisatory  style.  The  "Under"  was  a national  dance 
popular  in  Austria,  Bohemia,  and  Bavaria.  Beethoven  wrote  a real 
Lfindleri  The  little  waltz  known  as  "le  Desir" (usually  attributed 
to  Beethoven,  though  really  composed  by  ^chubert)  is  a Lfinder. 

Bach  and  Beethoven  did  not  really  add  much  to  the  form  of 
the  present  concert  piece,  but  simply  stood  as  the  forerunners  of  it. 
Their  efforts  were  a breaking  away  from  the  old  formality  and 
classicism  and  starting  a different  type  of  music  called  the  concert- 
piece. 

MOSCHELES 

Ignaz  Moscheles  (1794-1870)  was  a successor  of  Beethoven. 
He  made  a pianoforte  score  of  Beethoven’s  "Fidelio”  and  wrote 
"Variations  to  a Theme  of  Harmonious  Blacksmith",  "Hommage  A Handel" 
for  two  pianofortes,  "Varationen  iiber  den  Alexandermarsch" , Opus  32, 
and  "Twenty-four  Etudes",  Opus  20.  The  public  of  today  has  scarce- 
ly ever  heard  any  of  his  music  in  the  concert-room.  Nevertheless 


his  works  still  possess  vitality.  He  did  not  add  anything  more  than 
Bach  or  Beethoven  to  the  concert  piece  but  nevertheless  deserves  to 
be  mentioned  as  one  of  the  old  fathers  of  it. 


7 


CZERNY 

A most  efficient  exponent  of  the  so-called  "Vienna  °chool" 
was  Carl  Czerny  (1791-1857).  He  wrote  "Variations  and  Fantasias" 
which  were  a mere  hollow  glitter.  He  followed  the  fashion  of  the 
salon  composers  of  today,  "giving  titled  to  some  of  its  pieces,  it 
is  easy  to  see,  with  an  eye  to  the  sales-counter ."  His  compositions 
like  "Conflagration  of  Marvazell",  and  "Runs  of  Weimar  Neustadt" 
were  aimed  at  "arousing  interest  through  specific  pride  of  the  Vien- 
nese". His  fame  rests  on  his  pedagogical  works.  He  contributed 
little  to  the  concert-piece. 

WEBER 

Carl  von  Weber  (1786-1826)  stood  in  the  shadow  of 
Beethoven  on  the  border  line  of  Romanticism.  His  fame  lies  chiefly 
in  "Polacea",  in  a-flat,  and  "The  Invitation  to  the  Dance",  a waltz 
rondo.  "The  people  saw  the  new  spirit  of  Romanticism  clearly  and 
more  eonvincing  in  the  original  form  of  the  composition  than  in  the 
arrangements  of  it,  which  the  virtuosi  have  made  to  lend  technical 
brilliancy  to  their  playing".  He  composed  "Eighteen  Waltzes", 

"Twelve  All  emftndes"  (numbers  eleven  and  twelve  being  for  four  hands), 
"Six  Variations  on  a theme  Bianchi’s  Vinqua",  "Sorina  Vienqua", 

,,C!even  Variations  on  a Gypsy  Air"  in  C,  "Moments  Capriccioso  in  B- 
flat”,  "Grand  Polonaise",  "Aufforderung  zura  Tange",  and  "Rondo 
Brilliant"  in  D-flat. 

He  wrote  ten  sets  of  "Variations".  He  did  not  attempt 
as  Bach  in  the  "Goldberg  Variations"  or  Beethoven  in  the  "Eroica" 
Variations  and  those  on  "Diabelle's  Waltz",  to  enlarge  the  bounds 


8 


of  Variations  but  he  clung  to  the  simple,  old-fashioned  form.  Each 
variation  has  its  own  distinctive  and  refined  character.  His  varia- 
tions on  "Vien  Qua  Dorina  Billa  ”,  Opus  7,  on  a "Peine  au  Sortir  de 
l'enfance",  Opus  28,  and  on  "SchBne  Minka" , Opus  40,  are  among  the 
finest  of  their  kind. 

His  talent  shows  most  clearly  whenever  he  had  a poetic 
idea  to  interpret  musically,  and  no  where  is  this  shown  more  con- 
spicuously than  in  his  two  "Polonaises”  in  E-flat  and  E,  and  above  al! 
in  his  "Invitation  a la  Valse"  known  all  over  the  world.  The  "Hondo 
Brilliant",  Opus,  62,  and  the  "Moments  Capriccioso" , Opus  12,  though 
not  unattractive,  hardly  come  up  to  the  other  three  piece. 

Weber  added  a step  in  the  development  of  the  Waltz.  The 
composition  of  the  "Aufforderung  zum  Tanz"  marks  an  "adoption  of  the 
waltz  form  into  the  sphere  of  absolute  music  and  prepared  the  way  for 
the  stream  of  the  pianoforte  waltz  not  intended  as  dance  accompan- 
iment". As  can  be  seen,  the  concert-piece  is  slowly  developing  step 
by  step.  Although  Weber  did  not  add  much  to  the  form  of  the  concert  — 
piece,  he  deserved  to  be  mentioned  in  connection  with  its  develop- 
ment • 

FIELD 

John  Field  (1782-1837)  was  a precursor  of  Chopin  in  his 
cultivation  of  the  Nocturne.  His  compositions  in  the  simple  and 
compact  form  numbered  eighteen,  although  not  more  than  twelve  of  theip 
deserve  the  title.  They  are  popular  not  only  for  intrinsic  charm, 
freshness,  and  simplicity,  but  also  on  account  of  being  the  prede- 
cessors of  Chopin' s"Nocturnes"  which  undoubtedly  owe  their  form 


9 

but  not  their  "characteristic  melancholy"  to  those  of  Field.  "He 
was  the  first  who  introduced  a genre  in  song  and  sentiment  which 
absolutely  eliminated  , free  from  the  shackels,  and  free  from  the 
slack  of  imposed  form".  His  celebrated  Rondos  are  written  in  a 
spirit  of  child-like  gaiety. 

He  opened  the  way  for  all  achievements  which  followed 
under  the  style  of  "Pongs  Without  Words",  "Impromptus,  and  Ballads.” 
To  him  may  be  traced  the  source  of  all  those  pieces  designed  to  give 
voice  in  tones  to  particular  sensations  and  feelings.  The  "Nocturnes 
in  A,  E-flat,  C-minor,  A-flat,  and  B-flat”  are  the  very  essence  of 
all  "idylls  and  eclogues".  He  also  wrote  a "Polonaise  on  Rondeau", 
"Airs  Varies”,  "Variations  on  a Russian  Air”,  for  four  hands,  a 
"Grand  Waits”,  "Fantasie  sur  le  Montif  la  Polonaise  en  forme  de 
Rondo",  but  his  fame  chiefly  lies  in  his  nocturnes.  He  prepared  the 
way  for  Schubert  and  Pchumann  in  their  cultivations  of  the  Concert- 
piece.  He  was  merely  a "wayshower"  to  the  famous  composers  who  com- 
posed real  concert-pieces. 

SCHUBERT 

With  Franz  Schubert  (1797-1828)  the  concert-piece  really 
takes  its  true  form.  He  is  unique  in  melody,  rhythm,  and  modulation 
He  is  most  original  in  the  short  pieces  for  the  pianoforte.  His 
pianoforte  "Fantasy"  in  C is  a variation  on  melodies.  His  "Impromptu’ 
in  B-flat  has  an  "adonic  meter  which  flows  smoothly  and  is  still 
great".  He  wrote  two  sets  of  "Impromptus",  the  "Momens  Musicals" 

(a  set  of  short  pieces),  a "Fantasia"  in  C,  Opus  15,  and  many 
"Marches",  "Polonaises",  and  "Rondos".  He  wrote  some  charming 


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Waltzes.  His  greatest  achievement  according  to  Dr.  Eie  was  his 
"Moments  Musicals",  ^ome  of  his  pieces  are  song-like  and  all  have  a 
speaking  expressiveness  and  pronounced  character.  "His  love  of 
nature  is  reflected  in  his  pieces  as  shown  in  his  "Moments  Musicals". 

^chubert  wrote  for  the  instrument  in  a new  way,  "calling 
not  only  for  new  and  elaborate  advances  of  technique,  but  a deeper 
underlying  potency  of  expression,  through  interlacing  parts,  skill- 
fully arranged,  harmonies,  the  inner  voices  of  chords  and  through  new 
demands  as  to  the  variety  of  tone  quality,  contrasts  of  color,  and  th< 
enrichment  of  the  whole  through  pedal  effects".  Liszt  described 
^chubert  as  the  most  poetic  of  musicians.  achubert’s  music  is  the 
most  lovable  of  all  music.  In  his  Impromptus  lies  the  germ  of 
Mendelssohn’s  ’TC!ongs  Without  Words".  His  Waltzes  influenced  the 
Viennese  school  of  dance-composers,  ^chubert  uses  the  March-form  to 
a great  extent  in  many  of  his  pieces  for  four-hands,  among  them 
being  two  in  six-eight  time. 

The  Polonaise  is  a stately  dance  of  Polish  origin. 

^chubert  wrote  a "Polonaise"  for  four-hands.  The  Impromptu  is  a term 
used  for  pianoforte  compositions  "which  have  the  character  of  ex- 
tempore performances".  Schubert  uses  the  term  "Impromptu"  for  the 
first  time.  His  two  sets  of  pieces  known  as  "Impromptus"  Opus  90, 
Number  One  to  Four  and  Opus  42,  Number  One  to  Four,  are  mostly  varia- 
tions and  were  the  first  Impromptus  written.  These  variations  were 
indeed  concert-pieces.  His  impromptu  in  0,  Opus  90,  is  a'^ong  With- 
out Words". 

We  find  the  ^lavic  trait  in  his  pianoforte  pieces  which  he 
was  the  first  to  introduce  prominently  into  music.  The  quaint 
alterations  of  the  major  and  minor  were  in  thiw  period.  He  embodied 


11 

the  assimilated  national  melodies  and  rhythmic  peculiarities,  thus 
being  the  forerunner  of  Liszt  and  Brahms  who  made  Hungarian  melodies 
an  integral  part  of  European  concert' music . Schubert  was  the  first 
to  show  the  way.  With  him  the  concert-piece  takes  a definite  form 
and  has  a dignified,  stately  character. 

SCHUMANN 

Robert  Schumann  (1810-1856)  is  the  "Prince  of  German 
sentimentalities".  His  music  is  narrative  and  tells  the  stories  of 
his  life.  The  "Fantasia"  in  C-minor  has  a "daring  flight  and  a hid- 
den undertone  for  him  who  listens  secretly".  Schumann  wrote  some 
"Etudes"  in  the  form  of  Variations.  He  wrote  a "Fantasie"  in  C for 
which  his  inspiration  came  from  his  love  for  Clara  Wieck.  His  music 
is  full  of  wealth,  depth,  and  peotry.  His  melodies  are  most  original, 
full  of  odd  leaps,  and  strongly  marked  rhythms.  His  harmonies  are 
often  harsh;  "the  effects  of  color  are  produced  by  the  pedal,  by 
crossing  the  hands,  and  by  striking  a chord  and  releasing  the  keys 
one  after  another". 

He  wrote  the  "Papillons",  the  "Carnival",  "Pie  Davids- 
bundler",  "Fantasiestdcke" , "Fantasie",  Opus  17,  "Novelleten" , 
"Nachstflcke" , "Scenes  of  Childhood",  Opus  15,  "Bunte  Blotter,"  and 
"Forest  Scenes",  Opus  82.  As  can  be  seen,  he  uses  distinctive  names 
for  his  titles  such  as  "Butterflies",  "Carnival",  "Flower  Pieces", 
and  "Arabesque".  "Mottoes  and  poetic  quotations  are  used,  and  names 
are  spelled  out  in  the  letters  in  the  notes  of  the  theme,  as  for  in- 
stance in  the  "Northern  Dance",  which  begins  with  the  name  of  Gade, 
a Danish  composer,  " G-  A-  D-  E-".  His  form  is  highly  individual. 





; 


, 


. 


t 


12 

the  themes  being  little  developed  but  following  each  other  like  the 
scattered  thoughts  of  an  active  but  untrained  mind”. 

"What  he  did",  says  Richard  Aldrich,  "is  to  develop  an 
expressive  power  of  the  pianoforte  all  his  own.  He  is  a true  Roman- 
ticist. He  is  the  foremost  representative  of  idealized  program 
music,  proclaiming  not  things,  but  the  mood  and  essence  of  things, 
applying  titles  which  do  not  wait  for  fancy,  but  lift  it  into  a 
buoyant  atmosphere,  removing  all  fetters  of  the  soul  and  mind,  point- 
ing out  the  way  in  all  directions  except  those  which  lead  to  the 
realm  of  the  ignoble  and  the  ugly." 

He  was  the  ideal  representative  of  Romanticism.  "He 
turned  the  fantastics  and  whimsicalities  of  E.  A.  Hoffmann  and  Jean 
Paul  Frederick  into  instrumental  song  and  wove  the  partly  colored 
threads  into  polyphony  and  called  them  "Fantasiestuck"  (Opus  111). 

His  surpressed  feeling,  mystery,  and  suggestion  of  the  day,  dreams 
and  reveries  fill  his  earnest,  thoughtful  works."  The  most  familiar 
example  is  the  beautiful  pianoforte  piece  "Traumerie"  (dreaming). 
Schumann  was  a "new  phenomenon  in  German  music". 

He  uses  the  concise  dance  or  song -form,  making  up  this 
longer  compositions  from  a number  of  these  smaller  forms,  and  "sets 
ithem  together  as  a mosaic,  instead  of  at  once  casting  his  thought 
into  a larger  mold".  His  Opus  22  consists  of  a set  of  small  piano- 
forte pieces  in  dance-form  under  the  name  of  "Papillons".  "The  term 
dance  does  not  mean  the  dances  of  the  "Davidsbundler”  but  indicates 
the  form  of  the  piece  which  is  used  with  scarcely  less  freedom  than 
in  the  March  in  the  finale  of  the  "Carnaval".  He  invents  a piece 
cpiite  independently  and  afterwards  gives  it  a particular  meaning  by 
a superscription.  "His  object  is  to  give  the  piece  an  individual 


, 


■A.  ■ 


- 


. 


' 


13 


character  and  to  make  it  intelligible  of  itself". 

Among  the  compositions  of  small  form  there  are  the 
Variations.  Schumann  used  the  variation-form  "not  only  freely  and 
fancifully  but  with  a wealth  of  taste  and  feeling",  as  for  example 
in  his  "Impromptus",  and  "Andante",  and  "Variations"  for  two  pianos. 
Opus  46.  His  "Fantasia",  Opus  17,  has  no  conciseness  of  form.  He 
breaks  every  restriction  that  limits  this  form,  especially  in  the 
first  movement,  where  he  almost  loses  himself  with  endless  freedom. 
The  old  masters  had  given  the  Fantasia  a definite  outline  but 
Schumann  did  not  adhere  to  it.  His  "Humoreeke"  is  considered  one  of 
his  most  characteristic  works. 

"Intermezzo"  is  a term  used  for  "short  movement  serving 
as  a connecting  link  between  the  larger  divisions  of  a sonata  or 
suite’.’  Schumann,  however,  used  the  term  in  a different  sense.  He 
used  the  term  to  denote  an  independent  piece  of  small  dimensions. 

He  uses  this  form  in  his  Opus  4.  His  music  contains  "sportive  fanci 
fulness".  His  "Papillons"  is  often  described  as  a young  carnival". 
His  "Carnaval"  he  describes  as  a higher  kind  of  "Papillons".  He 
called  it  a masked  ball.  It  is  composed  of  twenty-one  pieces,  each 
having  a superscription.  The  pieces  showing  his  imagination  are 
"Davidsbtlndler" , "Fantasies tficke " , "Fantasie",  "Kreisleriana" , 
and  "Va velletten" . His  "Davidsbtindler"  shows  his  feeling  for  Clara 
Wieck.  His  "Fantasies tficke" , is  composed  of  eight  pieces.  "Des 
Abends",  having  twilight  dreaminess,  "Warum" , full  of  questioning, 
"Grillens",  containing  a humorous  character,  "Traumenswivrin" , of  a 
dreamy  nature,  and  "Endevom  Trede",  having  a joyful  character. 
Cchumann’s  works  have  the  structure  of  our  modern  concert-piece  and 
he  is  one  of  the  greatest  masters  of  it.  He  completed  the  work  that 


14 

Schubert  began.  He  added  thoughtfulness  and  the  song-form  to  the 
concert-piece • 

MENDELSOHN 

Mendelssohn  (1809-1841)  is  not  a revolutionist  but  a 
reformer  of  good  taste.  He  added  "little  more  than  a form  and  an 
idiom".  The  form  degenerated  into  a formula  by  himself.  Mendelssohn 
"Songs  Without  Words"  created  a remarkable  form  for  his  lyric  piano 
pieces  and  chose  for  them  an  entirely  new  and  expressive  name. 

Neither  the  "Nocturnes"  of  Field  or  Chopin,  nor  the  "Bagatellen"  of 
Beethovetuor  the  "Moments  Musicals"  of  Schubert  can  be  compared  to 
the  ,f<3ongs  Without  Words".  Within  the  approved  forms  and  principles 
of  Bach,  Mozart,  and  Beethoven  he  found  free  air  and  scope  for  what 
there  was  in  him.  His  themes  are  poetic,  sentimental,  and  picture 
all  moods. 

The  "Songs  Without  Words"  are  most  genuine  and  most  in- 
dividual inspirations.  There  is  hardly  a characteristic  trait  of 
his  style  that  is  not  found  in  these  little  miniature.  In  them  we 
have  the  whole  of  Mendelssohn.  He  had  an  exquisite  sense  of  form 
and  balance.  He  was  more  inclined  than  Schumann  to  cling  to  the 
classical  patterns  of  style  and  unimpassionate  classical  spirit. 

With  him  began  a new  classical  development.  "He  called  attention  to  j 
symmetry",  technical  finish  and  outward  grace."  There  is  an  absence 
of  the  abnormal  and  morbid  in  his  works.  His  style  suggests  the 
blending  of  the  classical  and  romantic  features. 


He  added  little  to  the  formal  resources  of  music.  He 
used  the  patterns  and  methods  already  known.  But  the  old  styles  be- 


. 

. 

, 

. 

15 


came  fresh  and  invigorated  under  his  treatment  as  in  the  Caprices 
for  the  pianoforte,  Mendelssohn  has  left  several  "Barcarolles”  which  a 
are  "pieces  of  music  written  in  imitation  or  recollection  of  the 
songs  of  the  Barcarioli  as  they  row  their  gondolas".  He  left  several 
of  them  in  his  "songs  Without  Words",  as  the  "Venitianisehes 
I Gondollied"  in  G minor  and  Opus  30,  Number  ^ix,  and  Opus  62,  Number 
Hive.  The  Barcaroles  first  makes  its  appearance  in  Mendelssohn's 
and  Chopins  works. 

The  best  known  pieces  of  the  "songs  Without  Words"  are 
the  "Spinning  song",  "Hunting  Song",  "Spring  Song",  and  the 
"Gondolier's  Song".  His  works  of  aesthetic  content  are  "songs  With- 
out Words",  "Yenitian  Gondolier's  song",  and  "Variations  Serieuses"; 
those  having  technical  significance  are  "Capriccio"  in  P sharp  minor 
"Rondo  Capriccioso" , "°cherzo"  in  E minor,  "Pantasie"  in  Pminor, 
"Etude"  in  P major,  and  "Scherzo  Cepprico",  which  is  the  most  valua-  | 
ble  and  individually  characteristic  of  all  of  his  pianoforte  music. 
Por  four-hands  he  wrote  an  "Allegro  Brilliant"  and  a "Duo  Concertante 
which  are  variations  on  a march  in  "Preciosa”.  Mendelssohn  develop- 
ed farther  than  Schumann  in  the  concert-piece  in  creating  a definite 
song-form.  Mendelssohn  is  one  of  the  greatest  master’s  of  the  con- 
cert-piece . 

CHOPIN 

Frederick  Chopin  (1810-1849)  was  a Classicist  in  one 
sense  but  a Romanticist  in  another.  "He  had  architectural  structure 
forced  by  the  adoption  of  dance  tunes,  but  he  was  free  with  form. 
Mendelssohn  and  Chopin  had  a common  love  for  architectural  symmetry". 


»r> 


■ 

v 


' 


. 


. 


. 


16 

"They  had  the  same  attitude  toward  program  music,  and  a devotion 
to  beauty”.  He  wrote  fifty-six  "Mazurkas”,  twenty-seven  "Etudes”, 
nineteen  "Nocturnes",  fifteen  "Waltzes",  thirteen  "Polonaises", 
four  "Rondos",  four  "Ballades",  one  "Barcarolli" , one  "Funeral  March’ 
four  "Scherzos",  three  "Impromptus",  three  sets  of  "Variations", 
three  "Eccossaises" , two  "Fantasias",  one  "Tarantelle" , one  "Ber- 
ceuse", one  "Concert  Allegro",  and  one"Bolero".  His  Etudes  devel- 
oped the  technique  of  pianoforte  playing  and  also  breathed  poetry 
and  passion.  His  twenty-five  Preludes  alone  would  give  Chopin  a 
claim  to  everlasting  fame.  All  shades  of  feeling  are  divined;  all 
depths  and  altitudes  are  explored. 

The  Ballade  is  an  invention  of  Chopin.  The  fourth  "Ballade 
in  F minor  is  a masterpiece  in  pianoforte  literature  as  Mona  Lisa 
is  a masterpiece  in  painting.  His  "Ballades"  are  written  in 
triple  time  and  are  moody  and  passionate.  The  "Polonaise"  of 
Chopin  is  developed  to  the  highest  degree.  Chopin  was  one  of  the 
few  composers  who  embodied  the  romance  of  his  land  and  the  people 
of  Poland.  The  Waltzes  are  salon  music  of  aristocratic  kind.  Ehlert 
calls  them  "dances  of  the  soul  and  not  of  the  body". 

He  used  the  damper  pedal  freely  to  get  wonderful  rich 
and  clear  effects.  He  found  by  making  dissonances  he  could  enrich 
the  colos’,  as  for  example  his  "^cherzo".  Opus  38.  "It  has  been  said 
of  Chopin  that  he  always  seemed  to  be  listening  to  the  wind  blowing 
over  the  strings  of  an  Aeolian  Harp,  and  that  he  constantly  en- 
deavored to  prolong  similar  effects  in  music  by  means  of  a prolonged 
and  almost  never  ending  domination  of  minor-seventh  chord,  character- 
istic of  that  instrument.  Th6re  is  some  ground  for  reasoning  in  thi? 
assertion  as  will  be  seen  on  reference  to  his  "Berceuse",  Opus  57, 


. 

17 


and  the "Nocturne” , Opus  62,  Number  One.  Near  the  close  of  both 
compositions  the  passages  are  in  each  case  in  the  nature  of  a pedal 
point.  In  one  instance  he  closed  a "Prelude",  Opus  25,  Number 
twenty-three,  with  an  unresolved  dominant  seventh  chord,  leaving  the 
hearer  in  the  expectation  of  something  yet  to  come. 

Chopin’s  "Nocturnes"  are  dreamy,  contemplative,  and  even 
elegiac.  It  is  interesting  to  compare  the  nocturnes  of  Chopin  with 
those  of  Field,  for  instance.  Field's  Number  Five  in  E-flat  with 
Chopin's  Opus  25,  Number  two.  Both  the  first  and  second  subjects 
of  each  bear  a striking  resemblance  to  those  of  the  other  composers. 
Chopin  reversed  the  principle  of  Wagner  whose  melodies  became  motifs. 
Chopin's  motifs  became  complete  melodies,  his  progressions  and  cad- 
ences motifs.  "Even  the  last  two  chords  of  final  progressions  he 
loved  to  include  within  the  limits  of  a melody  in  song  form".  His 
inhErmonic  voices  are  often  melodies,  such  as  the  composer  of  today 
would  send  forth  as  an  independent  creation.  In  short,  he  subjects 
every  note  of  his  composition  to  the  "laws  of  poetic  meter".  As  a 
consequence,  it  lives  and  moves  to  the  despair  of  the  impersonal 
pianist  of  today.  "All  his  works  display  a rare  £ift  of  poetic  fancy 
and  beauteous  melody,  and  they  abound  in  passages  of  great  difficulty 
but  are  never  harsh  or  strained. 

He  glorified  the  Polish  national  music  in  his  Polonaises 
and  Mazurkas.  His  music  is  original  in  inspiration,  elaborate  in 
ornamentation,  and  yet  never  becomes  formless.  He  had  perfect  unity 
and  balance  as  Mendelssohn.  His  form  is  closer  to  the  modern  form. 
His  forms  are  song-like  in  essence.  "In  the  courtly  grace  & impetuous 


vigor  of  his  "Polonaises”,  the  coquettish  witchery  of  his  "Mazurkas 
and  Waltzes",  the  tender  beauty  of  his  "Ballades",  "Nocturnes"  and 


18 


"Impromptus",  the  kaleidoscopic  brilliancy  of  his  "Studies”,  "Pre- 
ludes " and  "^cherzos",  Chopin  accomplished  the  apotheosis  of  the 
national  music  and  the  national  spirit  of  his  beloved  Poland;  and 
inasmuch  as  his  music  not  only  represents  the  strong,  national  char- 
acter instincts,  but  is  also  a record  of  the  changing  emotions  of 
his  sensitive  nature,  anyone  who  can  appreciate  Chopin's  works  will 
easily  disprove  to  themselves  the  charge  of  want  of  variety. 

"Music  was  revelation  to  Chopin  and  he  avoided  the 
commonplace".  "His  "Nocturnes"  are  envoys."  He  often  treated  the 
principal  melodies  in  the  style  of  the  "Italian  Aria".  "Beneath  the 
wealth  of  embellishments  or  hidden  in  the  modulatory  passages  the 
original  song  may  be  discovered  if  the  interpretation  is  to  possess 
grace  or  meaning.  He  was  even  accustomed  to  build  upon  the  close, 
new,  and  melodic  passages  forceful  and  dignified,  but  on  analysis 
resolving  it  into  a forceful  cadence".  In  sequence  of  modulatory 
chords,  Chopin  loved  to  transform  beautiful  themes  by  breaking  up 
their  melodic  structure  into  rhythmic  and  melodic  motifs.  His 
"Berceuse"  has  unvarying  uniformity. 

In  his"Ballades"  he  delights  in  a form  of  expression  pe- 
culiar to  himself.  The  music  appeals  to  the  imagination  as  a narra- 
tive poem.  The  "Third  Ballade"  in  A-flat  is  the  most  perfect  piece 
because  it  is  well  balanced  and  carefully  designed.  The  "°econd 
Ballade"  in  F is  not  fantastic. 

In  one  sense  he  gradually  deteriorated  in  form.  He  knew 
where  his  weakness  lay,  for  toast  of  his  works  are  short,  dance  pieces 
in  two  or  three  part  forms.  He  idealizes  them  and  introduces  "tempo 
rubato"  which  makes  his  music  very  interesting.  He  uses  for  this 
purpose  the  Polonaise,  a stately  dance 


. 


19 


of  Poland,  and  the  more  lively  Mazurkas  which  he  knows  how  to  make 
tender,  sad,  and  gay  in  turn.  He  wrote  many  graceful  "Waltzes"  and 
other  dances,  such  as  a "Tarantelle"  a "Bolero",  and  a "Krakowiak" . 
His  deeper  emotions  he  expresses  in  his  "Nocturnes",  "Preludes", 
"Impromptus"  and  "Ballades".  Chopin  treated  the  Mazurkas  in  a new 
and  characteristic  manner.  "He  extended  its  original  form,  eliminat- 
ed all  vulgarity,  and  introduced  all  sorts  of  Polish  airs,  thus  re- 
taining little  more  than  the  intensely  national  character  of  the 
dance  tune." 

Chopin’s  "Polonaise"  is  developed  to  the  highest  develop- 
ment  possible  for  a mere  dance.  He  invigorated  the  dry  form  of  the 
old  Polonaise  into  a new  spirit,  altering  it  as  he  did  the  Mazurka 
and  the  Waltz.  He  changed  it  from  a mere  dance  into  a "glowing  tone 
picture  of  Poland;  her  departed  glory,  her  many  wrongs,  and  her  hopes 
for  regeneration."  Karasowski  ("Chopin?  Volume  two)  divides  the 
Polonaises  into  two  classes.  The  first  which  includes  those  in  A 
Opus  40,  Number  One,  F-sharp  minor,  Opus  44,  and  A-flat,  Opus  53, 
is  characterized  by  strong,  martial  rhythm  and  may  be  taken  to  "re- 
present the  feudal  court  of  Poland  in  the  days  of  its  splendor". 

The  second  class  inluding  the  Polonaises  in  C-sharp  minor.  E-flat 
minor,  Opus  36,  C minor.  Opus  40,  Number  Two,  D minor,  B-flat  major, 
and  F minor.  Opus  71  is  easily  distinguished  by  a "dreamy  melancholy 

>* 

and  is  a picture  of  Poland  in  her  adversity.  "The  "Fantasia  Polonais 
in  A-flat,  Opus  61,  is  different  incharacter  and  is  said  to  be  re- 
presentative of  the  national  struggles  ending  with  a song  of  triumph. 

The  Rondo  was  a piece  of  music  "having  a principal  subject 
to  which  a return  is  always  made  after  an  introduction  of  other 
matter,  so  as  to  give  a symmetrical  or  rounded  form  to  the  whole". 


. 


f 


t. 


* 


20 


Chopin,  whose  construction  was  not  a strong  point,  often  omitted 

the  central  section  or  third  subject,  together  with  a repetition  of 

the  first  subject,  which  accompanies  it;  "that  is  to  say,  that  the 

composer  having  produced  all  of  his  material  in  the  first  part  of 

the  piece  repeats  the  whole  unchanged  except  that  those  portions  that 

were  in  the  dominant  were  given  to  the  tonic".  Chopin's  "Hondo 

\ 

Brilliant"  in  E-flat  and  "Adieu  a Yarsovie"  show  this  construction. 
Many  people  think  the "Fantasia"  Opus  49,  the  "Polonaise"  in  F-sharp 
minor,  "the  Scherzo"  in  B minor,  and  the  "Prelude"  in  D minor  are 
Chopin  at  his  best.  The  concert-piece  reached  its  height  under 
Chopin.  His  Nocturnes,  Ballades,  Polonaises,  and  Preludes  exemplify 
the  concert -piece  in  its  highest  form  under  the  Romantic  writers. 

The  works  of  Schubert,  Mendelssohn,  Schumann,  and  Chopin 
show  the  true  form  of  the  concert-piece.  No  other  composers  have 
done  so  much  to  give  the  concert-piece  its  true  form  as  these.  The 
composers  of  today  do  not  produce  as  much  pianoforte  music  as  these. 
No  others  have  as  much  originality  and  power  in  their  works.  The 
composers  of  today  treat  the  concert-piece  in  a different  way.  From 
now  on  the  concert-piece  takes  a different  form  and  in  many  instances 
becomes  a salon  piece. 


HELLER 

Stephen  Heller  (1815-1888)  wrote  "Fantasias",  "Ballads”, 
numerous  "Etudes",  "Preludes",  "Caprices"  and"Lances” , besides  a 
"set  of  delightful  effusions  which  are  called  Flower,  Fruit,  and 
Thorn  Pieces".  "His  "Waltzes”  are  reflective  and  introspective,  not 
to  be  danced  but  at  least  to  be  felt  and  brooded  over."  His  music 


' • 


■ 


21 


is  a proclamation  of  all  the  moods.  While  his  compositions  are 
not  now  regarded  so  highly,  they  are  filled  with  original  feelings 
and  beautiful  melodies.  His  form  of  the  concert-piece  did  not  equal 
those  of  the  four  great  composers.  With  him  the  concert-piece  begins 
to  take  a new  form  which  is  almost  degenerate  in  its  essence. 

HENSELT 

Adolph  Henselt  (1814-1885)  wrote  in  a brilliant  style 
and  nobility,  suggestive  of  Chopin.  He  wrote  "Twelve  Etudes  de 
Concert",  Opus  2,  "Twelve  Etudes  de  ^alon",  Opus  5,  a "Spring  ^ong”, 
a "Cradle  Song",  "La  Gondola".  He  is  poetic  even  in  his  "Etudes". 

His  "Twelve  Etudes"  deserve  a rank  near  Chopins'.  His  Etude,  "If  I 
were  a Bird",  is  played  for  the  concert  room  of  today.  He  is  not  as 
great  as  Mendelssohn,  Chopin,  and  Schumann  and  save  the  one  mention- 
ed, his  works  are  seldom  heard  in  the  concert  room. 

RAFF 

Joachim  Raff  (1822-1882)  wrote  a "Seranade",  "Etudes", 
"Impromptu  Waltz",  "Impromptu  Brilliant",  "Fantasie  Dramatique” , 
"Romance  Etude",  "Nocturne”,  a "Romance",  "Capriccio"  in  F minor,  a 
"Fantasia"  for  two  pianofortes,  two  "Rhapsodies  Elegiaques",  "Valse 
Melaniolique" , "Tarantella",  "Albumstuck" , a "Caprice",  two  "Etudes 
Melodiques",  and  a "Capriccio".  His  "Etudes"  are  the  best  known 
of  his  works.  His  Etude,  "La  Fileuse",  has  won  a place  in  the  con- 
cert-room of  today.  Raff  ranks  with  Heller  and  Henselt.  They  were 
not  great  composers  and  did  not  add  anything  more  to  the  concert- 
piece  and  were  chiefly  noted  for  their  Etudes. 


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BRAHMS 

Johannes  Brahms  (1833-1897)  represented  the  combined 
element  of  classicism  and  Romanticism.  He  improved  the  structures 
polyphonically.  He  wrote  one  "Ballad” , Opus  10,  five  sets  of  "Varia- 
tions", a number  of  short  pieces  call  eel  "Rhapsodies",  a "Caprice"  in 
B minor  and  an  "Intermezzo”  in  A- flat.  Opus  76. 

His  piano  "Variations"  were  the  greatest  of  his  time  and 
among  the  greatest  of  all  times.  His  "Variations"  are  somewhat  differ 
ent  from  those  which  are  commonly  so  named.  His  prototype  is  Bach's 
"Aria  with  Thirty  Variations”.  His  "Variations”  flow  naturally. 

"Only  a real  genius  can  take  a thought  and  draw  it  forth  upon  a sin- 
gle theme  and  contrast  as  though  it  were  a symphony".  His  "Variation!! 
on  a Theme  by  ^chumanft,  Opus  9,  are  impressive  and  show  his  true 
friendship  for  Schumann.  His  early  "Variations"  were  sweet  and  mys- 
terious as  the  ?tC!wan  Song"  and  "Variations  of  Love",  by  Schumann. 

The  "Original  Theme  and  Variations",  Opus  20,  Humber  One,  have  an 
"epic  breadth  and  much  fervor,  half  churchly  and  half  rhythmic." 

The  "Variations  on  a Hungarian  Theme",  Opus  21,  Humber  Two,  pictures 
Magyar  life.  "It  recites  sad  songs,  blazing  passionate  dances  of 
love,  gaiety  of  wine,  czardas,  marches,  troops  of  dancing  maidens, 
and  wedding  processions;  till  he  finally  has  a heaven  of  symphony 
above,  and  the  whole  company  ends  with  a Hungarian  theme  in  the  form 
of  a hymn".  The  "Paganini  Variations"  are  twenty-eight  variation- 
studies.  Brahms  is  sometimes  called  the  last  great  classic  composer. 
He  adheres  to  the  classic  structure;  he  is  objective.  "In  his 
"Variations"  he  so  absorbs  the  entire  contents  of  each  musical  epoch 
that  he  produces  the  characteristics  of  each  composer  by  turn."  If 


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he  writes  on  a theme  by  Haydn,  he  becomes  Haydn  in  style.  "He  achiev- 
ed the  last  supreme  endeavor  of  our  modern  music;  the  longing  to 
make  music  reveal  not  only  feeling  but  thought." 

His  "Intermezzo"  in  E minor  tells  of  Brahms  love  for  the 
waltz  form  as  treated  by  Strauss.  He  was  fond  of  conflicting  rhythms 
and  themes  like  the  folk  songs  or  national  dance  tunes.  He  wrote 
"Sixteen  Waltzes"  Opus  39  for  four  hands.  He  wrote  an  odd  and  strik- 
ing "Scherzo"  for  the  pianoforte.  It  had  wonderful  vigor. 

"The  Rhapsody  is  a string  of  melodies  arranged  with  a 
view  to  effective  performance  in  public,  but  without  a regular  de- 
pendence of  one  part  on  another."  Brahms  adopted  the  term  "Rhapsody" 
and  added  more  weight  to  its  significance.  His  "Original  Rhapsodien" 
Opus  79,  in  B minor  and  G minor  are  abrupt  pieces  in  simple  style  yet 
solidly  put  together.  In  his  "Rhapsodie"  Opus  119,  there  is  more  of 
a rhapsodical  quality  than  is  found  in  any  other  of  Brahm’s  Rhapso- 
dies. A half  of  his  Rhapsodies  will  outlive  Liszt. 

He  wrote  four  Ballads,  one  in  six-eight  time  and  two  in 
six-eight  or  six-four  time.  His  "Ballad"  in  D minor  has  a narrative 
quality;  he  puts  it  in  common-time  instead  of  triple  measure,  thus 
giving  it  more  dignity  and  stateliness. 

The  term  "Capriccio"  is  applied  to  many  of  the  short 
pieces  among  Brahm's  important  works.  His  Opus  76  and  116  consist 
of  a Gaprica  and  Intermezzi.  The  term"Caprica"  is  applied  to  the 
rapid  movements  but  "Intermezzi?  is  applied  to  the  slower  movements. 
Brahms  used  the  term  as  Schumann  for  pieces  of  smaller  dimension  as 
in  his  Opus  76,  117,  118,  and  119. 

He  never  writes  salon  music.  Brahms  is  indeed  an  artist 
of  the  beautiful  and  no  where  is  this  better  exemplified  than  in  his 


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piano  works.  "Though  he  lived  in  various  musical  centers,  he  rarely- 
appeared  in  concert,  devoting  himself  to  composition,  the  result 
being  a rather  conventional,  though  at  times  brilliant  style  of  com- 
position. He  became  an  idol  of  the  anti-Wagnerian  school.  Brahms 
was  the  lest  of  the  Romantic  School.  With  him  ends  the  development 
of  the  concert-piece  treated  in  the  Romantic  way.  He  added  the  form 
of  Rhapsodies  and  perfected  the  variation  form;  this  is  his  contri- 
bution to  the  concert-piece. 

The  concert-piece  was  developed  in  an  entirely  different 
way  under  the  new  National  School.  The  characteristics  of  the  new 
school  are  found  in  its  name.  National  School.  The  composers  of  this 
school  have  certain  national  qualities  in  their  work.  This  is  not  a 
golden  age  for  the  concert-piece,  and  in  many  cases  it  becomes  a 
drawing-room,  salon  piece.  The  pianoforte  of  today  has  gained  a 
hundred  times  in  richness  and  power  of  tone.  With  it,  the  music  has 
gained  in  national  spirit. 

GRIEG 

Edvard  Grieg  (1845-1907)  is  one  of  the  foremost  composers 
of  the  new  school.  His  music  depicts  alternate  sadness  and  boister- 
ous humor,  natural  to  the  people  oppressed  by  the  climatic  rigors  of 
the  Scandinavian  peninsula.  Among  his  compositions  for  the  piano- 
forte are  "Humoresken” , "Romanzenund  Balladen" , "Lyrische  stuckchin", 
"Romanzen",  ’’Walzereapricin" , a ’’Peer  Gynt  °uite".  Number  one  for 
the  pianoforte,  a ’’Romance  and  Variations’’,  and  ’’Wedding  Day  at 

i 

Trolhaugen" . The  strange  and  haunting  harmonies  of  ’’Asa's  Death’’ 
have  almost  giagical  power.  In  ’’Anitra's  Dance"  there  is  an  oriental 


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characteristic  which  is  very  attractive.  He  implanted  upon  the 
melodies  of  Norway  the  impress  of  his  own  genius,  as  shown  in  Opus 
17,  "Northern  Dances  and  Polk  Tunes". 

"He  has  melodic  freshness  and  real  ability  to  engraft  a 
really  individual  style  upon  the  materials  offered  by  his  countrymen'!! 
dances  and  songs".  While  original  and  spontaneous,  his  music  is  em- 
bued  with  old  Horse  melodies  and  folk  songs.  There  is  a certain  ro- 
bustness, ruggedness,  and  abruptness  in  the  harmonic  changes;  "the 
strong  contrast,  produced  by  marked  emphasis,  combined  with  syncopa- 
tion, the  constant  recurring  effects  of  light  and  shade  through  pro- 
per attention  to  dynamics  are  very  marked. 

He  used  the  old  ecclesiastical  modes  in  which  the  leading 
tone,  characteristic  of  our  modern  scale  is  lacking.  He  used  in  its 
place  a minor  seventh  instead  of  a major  seventh.  He  frequently  used 
the  harmonic  and  melodic  progressions  based  upon  the  tones  of  the 
natural  minor  scale.  In  his  "Berceuse”  Opus  38  number  one,  "the 
binary  and  tenary  rhythms  conbine  and  there  are  strong  harmonic  con- 
trasts of  sudden  occurence." 

Grieg's  music  carries  the  fragrance  of  his  native  pine 
woods  into  the  concert-room.  Certain  harmonic  progressions  are  used 
almost  too  often,  In  the  structure  of  the  melodies  there  is  a cer- 
tain sequence  of  descending  notes,  consisting  of  the  tonic,  leading 
tone,  and  dominant.  His  chief  characteristic  is  his  local  color. 

As  can  be  seen,  the  concert-piece  is  taking  a new  form.  It  is  filled 
with  the  national  spirit.  Grieg  was  one  of  the  first  masters  of  the 
new  school  and  his  music  is  embued  with  Nationalism.  The  concert- 
piece  is  now  a national  concert-piece. 


26 


DVORAK 

Anton  Dvorak  (1841-1901)  wrote  a "Polka”,  "Scottish 
Dances",  two  "Furiants",  a "Humorske",  a "Waltz".  The  Furiant,  a 
piece  of  fiery  character,  was  introduced  into  music  by  Dvorak.  He 
belongs  to  the  National  Bohemian  School  of  Musicians.  His  music  is 
full  of  national  characteristics.  He  has  a wealth  of  melodic  in- 
ventions. There  is  a certain  unexpectedness  in  his  music.  He  added 
more  of  the  National  spirit  to  the  concert-piece. 

LI^ZT 

Franz  Liszt  (1811-1886)  wrote  "Nocturnes",  "Etudes", 
"Hungarian  Rhapsodies",  "Consolations",  "Harmonies”,  "Poetiques  et 
Religieuses" , "Annees  de  Pelerinage",  "Legends”,  and  "Transcriptions 
on  Schubert’s  Song”.  He  introduced  on  the  pianoforte  orchestral  ef- 
fects. The  method  of  getting  these  effects  was  by  transcription 
by  Liszt  for  the  pianoforte.  Liszt's  "Transcription  of  the  Ninth 
Symphony  of  Beethoven"  may  be  regarded  as  a masterpiece  in  this  line. 
His  "Soirees  de  Vienne",  although  built  on  a borrowed  theme,  is  an 
artistic  creation.  His  Etude  "Au  Bord  D’  une  Soul",  is  very  beau- 
tiful. Liszt  used  the  term  "Rhapsodie"  in  its  original  form,  as  in 
his  fifteen  "Rhapsodies  Hongroises",  "Remineseenes  d’  Espagne", 

"Les  Folies  d'  Espagne”  and  "La  Jota  Aragonese"  which  he  later 
called  "Rhapsodie  Espagnale".  His  Rhapsodies  show  a reconstruction 
and  civilization  of  a national  music  of  the  highest  artistic 
type.  "Schumann  was  the  soul  of  Germany,  Chopin  the  soul  of  Po- 
land, and  Liszt,  the  soul  of  Magyar".  The  concert-piece  is  now  a 
vigorous  National  piece.  It  varies  in  spirit,  according  to  the 


27 

nationality  of  the  composer.  Liszt  treats  it  with  the  Hungarian 
National  spirit  along  with  his  own  individual  style  and  thus  makes 
a National,  vigorous  concert-piece.  He  writes  more  good  concert- 
pieces  than  any  of  the  composers  that  follow  him. 

RUBENS TEIN 

Anton  Gregor  Ruhenstein  (1830-1894)  wrote  a ’’Nocturne”, 
in  G-flat,  an  "Impromptu”,  "Twelve  Etudes",  "Melody  in  F",  a Polon- 
aise", three  "Caprices",  "Album  of  St.  Petersburg",  "Fantasia"  for 
two  pianos,  "Album  of  National  Dances”,  and  "Soirees  Musicales". 

He  is  popularly  known  for  his  "Melody  in  F",  "Romance",  Opus  26, 
Number  One,  and  Opus  44,  Number  One,  "Barcarolle",  Opus  30,  and 
"Impromptu”,  Opus  44. 

His  piano  works  may  be  divided  into  three  classes;  first, 
the  drawing-room  pieces  which  are  often  trivial  and  insipid;  second, 
pieces  showing  the  influence  of  Chopin  and  Mendelssohn;  third,  his 
own  compositions,  pure  and  simple.  The  influence  of  Chopin  is 
shown  in  his  "Mazurka"  Opus  5 and  "Melancolie" , Opus  51.  Mendel- 
ssohn's influence  is  shown  in  the  "Romance",  Opus  26,  number  one, 
and  in  his  weaker  pieces.  Schubert's  influence  is  shown  in  "Valse 
Allemond",  and  Weber's  in  "Freischutz  Waltz”,  number  five. 

There  is  a lack  of  outline  and  form  in  his  music.  His 
works  contain  but  little  national  spirit  and  are  very  simple  in 
structure.  They  marked  the  beginning  of  the  change  in  the  charact- 
er of  the  concert-piece.  Fome  of  his  works  were  superior  drawing- 
room pieces.  From  now  on  the  character  of  the  concert-piece  changes 
to  that  of  the  salon,  drawing-room  piece. 


28 


TPCHAIXOWSKI 

Peter  Tschaikowski  (1840-1893)  was  one  of  the  greatest 
Russian  composers.  His  works  for  the  pianoforte,  however,  show 
little  inspiration  or  even  ingenuity.  "The  world  would  not  he  much 
poorer  for  the  loss  of  all  that  he  has  written  for  the  piano".  His 
repetition  and  development  of  an  idea  is  too  thin  to  hear  such  elab- 
oration. His  writing  for  the  piano  is  that  of  a composer  for  an 
orchestra.  He  thinks  orchestrally.  His  "Valse  Caprice"  in  A-flat 
Opus  4,  is  very  brilliant  and  his  "Waltz  Romance"  is  very  beautiful 
and  much  played.  He  wrote  a "Valse  Caprice"  in  D,  "Romance"  in  F 
minor,  a "Valse  Scherzo"  in  A,  "Capriccio"  in  G-flat , "The  Months", 
Opus  37,  and  "Perpetuum  Mobile"  for  the  left  hand.  In  the  "Varia- 
tions in  F"  the  chief  interest  lies  in  the  thematic  development. 

His  works  disclose  patriotism  in  both  the  theme  and  development  and 
they  have  a light,  fanciful  character  which  is  exceedingly  attract- 
ive. He  uses  the  minor  keys  very  persistently.  In  the  richness  of 
his  emotions  may  be  traced  the  cause  of  his  imperfections.  As  can 
be  seen,  his  pieces  also  tend  toward  the  ?al on-music.  His  pieces 
have  a light,  trivial  character.  His  contribution  to  the  concert- 
piece  is  to  make  it  become  a light,  fanciful  piece. 


SAINT-SAEHS 

Oamille  ^aint -^aens  (1835  - ) has  written  a 

"Caprice  on  Russian  Avis",  a "Mazurka”,  "Gavotte",  "Polonaise”, 
"Souvenir  d'  Italie",  "Les  CSloches  du  8oir",  "Caprice  Arabe"  for 
two  pianos,  and  a "Theme  Varie".  He  shows  local  coloring  in  his 
piano  pieces  but  as  a whole  they  are  not  characteristic  of  him.  His 


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greatest  works  are  those  for  the  orchestra*  His  influence  was  to 
tend  to  make  the  concert-piece  a drawing-room  piece. 

DEBUSSY 

Claude  Debussy  (1862-1918)  wrote  "Reflections  in  the 
Water"  , and  "Images”.  "There  is  a refinement  and  depth  of  ex- 
pression in  the  handling  of  unexpected  harmonic  and  melodic  iddas". 
He  uses  a six  tone  scale,  augmented  tread,  and  divides  the  octave 
into  three  equal  parts.  He  uses  refined  dissonances  in  his  pieces. 
His  greatest  works  as  those  of  ^aint-^aens  are  those  for  the  or- 
chestra. Pianoforte  compositions  are  no  longer  produced  as  abund- 
antly as  in  the  time  of  Schumann.  Debussy  did  not  write  many  works 
for  the  piano.  His  music  takes  the  force  of  the  salon-piece;  the 
concert-piece  is  now  a drawing-room  piece. 

MCDOWELL 

Edward  MacDowell  (1861-1907)  was  one  of  the  greatest 
American  composers.  He  wrote  "Woodland  Sketches”,  "Fireside  Tales", 
"^ea  Pieces”,  and  "Hew  England  Idylls".  He  is  a Romanticist.  He 
uses  poetic  suggestion  in  the  titles  of  his  program  music,  he  tries 
to  portray  the  moods  of  things.  He  is  partial  to  subjects  that 
suggest  woods.  In  his  "Woodland  Sketches"  he  uses  the  melodies  of 
the  Red  Men  of  Horth  America.  He  is  essentially  a student  of  the 
National  school.  His  works  are  salon-pieces. 


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30 


NEVIN 

Ethelbert  Nevin  (1862-1901)  cultivated  the  sentimental 
Qalon  style  successfully  and  tastefully.  Pome  of  his  works  are 
"Water  Scenes",  Opus  13,  of  which  "Narcissus"  is  the  best  known, 
and  "In  Tuscany”,  a suite.  His  feeling  for  melody  is  sometimes  over 
sentimental  but  expressive  of  the  gentler  moods.  He  shows  a finish 
of  workmanship.  His  contribution  is  to  make  the  concert-piece  a 
real  drawing-room  piece. 

G OLER I DGE -TAYLOR 

Samuel  Coleridge-Taylor  (1875-1912)  wrote  "Negro  Melodies 
Transcribed  for  the  Piano".  In  these  he  calls  into  service  the 
songs  of  Africa  and  West  Indies  with  the  songs  that  came  into 
America  during  the  slavery  period.  In  handling  melodies  he  has 
preserved  a distinctive  trait  of  individuality  at  the  same  time 
giving  them  an  art  form  fully  embued  with  their  National  spirit. 

He  does  in  his  music  the  same  thing  that  MacDowell  does  in  his  songs 
of  the  American  Indian.  Although  not  a great  composer,  he  deserves 
to  be  mentioned  as  the  foremost  Negro  composer.  His  pieces  tend  to 
Nationalism  but  yet  contain  a strain  of  sentimentalism,  character- 
istic of  the  °alon  piece. 


PTRAUPP 

Richard  Ptrauss  (1864-  ) wrote  "Ptimmungsbilder" . 

His  melodies  fairly  stand  out  in  their  very  boldness  and  simplicity 
and  are  polyphonic  and  rhythmic.  He  is  more  refined  than  Debussy. 


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31 

His  greatest  works  are  those  for  the  orchestra, 

GODOW^KY 

Leopold  Godowsky  (1870-  ) is  the  greatest  modern 

Polish  musician,  Some  of  his  compositions  for  pianoforte  are 
"Polonaisse"  in  C,  "Minuet”  in  F,  "Toccata",  Opus  31,  and  "Triakonte- 
eon"  which  is  composed  of  a group  of  small  Polish  pieces  and  very 
marked  with  Polish  rhythms.  He  is  best  known  as  a virtuso.  His 
pianoforte  compositions  are  not  great,  although  they  hold  a title 
to  the  title  of  the  modern  concert-piece • 

RACHMANINOV 

Sergei  Rachmaninov  (1873-  ) is  a famous  Russian 

composer.  He  wrote  a "Prelude"  in  C sharp  minor,  "Variation  on  a 
Theme  of  Chopin",  and  "Six  Moments  Musicaux".  His  "Prelude"in  C 
sharp  minor  is  very  popular.  He  was  one  of  the  foremost  Russian 
composers  of  the  National  schools.  His  pieces  have  the  true  form 
of  the  modern  concert  piece.  He  is  best  known,  however,  as  a 
virtuoso. 

PADEREWSKI 

Ignaz  Jan  Paderewski  (1860-  ) is  a famous  Polish 

pianist.  His  compositions  have  a distinctive  character  of  their  own. 
Among  his  compositions  for  the  pianoforte  are  "Fantasia",  "Polonaise" 
Opus  14,  "Chants  du  Voyageur",  and  "Album  du  Mai".  He  also  did  not 
write  much  for  the  pianoforte  but  was  a great  virtuoso. 


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32 

The  concert-piece  began  with  Bach  and  Beethoven,  reached 
its  culmination  in  the  Romantic  School  under  Schumann,  Mendelssohn, 
and  Chopin,  and  became  a salon  piece  under  °trauss,  Debussy  and 
Nevin.  What  form  the  concert-piece  will  now  take  remains  to  be  seen. 
This  is  a materialistic  age.  Most  of  the  great  musicians  are  now 
dead.  The  present  composers  are  sensation  seekers.  The  modern  music 
is  experimental.  There  are  two  masters  to  follow:  ^trauss  and 

Debussy.  Strauss  is  the  positive  and  Debussy  the  negative  force. 
°trauss  is  greatest  in  what  he  does  and  Debussy  in  what  he  avoids. 

The  question  is  now,  what  master  will  be  followed’  In  this  answer 
will  be  found  the  future  of  the  concert-piece. 


